The Fugitive Kind

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Franky L This movie showed the ugly side of people, and the rampid discrimination against all kinds in the 1950s south. Marlon Brando showed his superb acting in this almost film noir. A mustxwatch for Brando fans. Rated 4.5/5 Stars •  Rated 4.5 out of 5 stars 04/03/24 Full Review Steve D Not a lot here despite the great cast. Rated 1/5 Stars •  Rated 1 out of 5 stars 07/12/23 Full Review Martin B Absolutely riveting. The perfectly cast aging Magnani, tortured and looking for anything to make her want to live her life once again my favorite. Brando and Woodward brilliant as well. It's about the dialogue you have to be paying attention. Not a particular fan of Brando movies he's critical to make this movie work. My favorite Brando movie. Rated 5/5 Stars •  Rated 5 out of 5 stars 02/01/23 Full Review Lauren D A Tennessee Williams work, based on Orpheus Descending and, like all his work, it's dark and steamy, disturbing and heartbreaking. It may come as a surprise to those watching the film for the first time just how modern its themes are. There are those who say Lumet's direction was off-key, but I disagree. It's a slow burn, filled with foreshadowing. The tragic ending is inevitable from the opening scene. Marlon Brando is perfectly cast as the still-waters-run-deep loner with a sexuality he can neither hide or escape despite his (at least in the beginning of the film) strange innocence. Is he dangerous, a kind of sexual demon-savant? Or a holy philosophical fool? Joanne Woodward is an acting revelation - profoundly vulnerable, broken, and alluring at the same time. Anna Magnani's performance of repressed rage and hurt will haunt you. Maureen Stapleton is a dollop of magical purity. In short, be warned, but watch it. "You've been a witnesss, and you know." Rated 5/5 Stars •  Rated 5 out of 5 stars 10/07/22 Full Review William L Source material from Tennessee Williams, a performance from Marlon Brando, and direction from Sidney Lumet should have made The Fugitive Kind a classic of midcentury American film. But while Brando and particularly co-star Anna Magnani probably come the closest, none of the individual participants can likely count this film among their better or more enduring projects. The film's biggest problem seems to be the nature of the adaptation; while the original narrative focuses on repressed passion and unconventionality in the face of a traditional society, the film seems to skew much further towards the melodramatic in its presentation. The actual external conflict is surprisingly reserved and toothless up until the final scenes of the film, with the unnecessarily long runtime instead being filled with reiterative romance that feels more like fluff than character development. A film that should have worked well on paper, but never really comes together in any meaningful way. (2.5/5) Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 07/30/22 Full Review Audience Member It isn't often I have seen Lumet venture out of NYC as settings for his films but this team up with Tennesse Williams takes them south for a small town tale, no less seedy, that explores themes such as loneliness, lust, and jealousy, among others. The plot moved at a satisfactory pace and I appreciate this more reserved style of storytelling, where motivations and past actions are gently alluded to and not beat over the audience's heads as a method of forced exposition. The acting is what stood out however and made this film most interesting. Brando, Anna Magnani, and Joanne Woodward each deliver a well crafted performance, adding a sustained amount of depth to their character as the film progressed, making it easy to feel some stake in their futures. 6.5/10 Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 01/20/23 Full Review Read all reviews

The Fugitive Kind

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